Samuel Palmer

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Palmer, Samuel,

1805–81, English landscape watercolorist, etcher, and mystic. Under the influence of William Blake he produced in sepia a series of remarkable visionary drawings of moonlit landscapes. Palmer is also known for his Italian and English landscapes in watercolor, his illustrations of Spenser and Milton, his translations of Vergil's Eclogues, and his etchings. He is represented in the National Gallery and the Victoria and Albert Museum, both in London.


See study by R. Lister (1969).

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References in periodicals archive ?
Of course all his information is secondhand--he interviewed, among others, Samuel Palmer and John Linnell--but so was Gilchrist's, and it's notable that each tends to confirm the other, something that inspires confidence in Strange's account.
Go to the sunny section and gaze at Van Gogh's Sunflowers or Samuel Palmer's Harvesting.
The spell he cast over Samuel Palmer, a generation younger than he, is well known from the testimony of Palmer himself, and much Pre-Raphaelite painting would simply not exist without the precedent of Turner's work.
His undoing came when he became obsessed with obscure 19th Century artist Samuel Palmer and produced so many "Palmers" that he created a whole new market for the artist.
Samuel Palmer (British, 1805-1881), Sir Guyon with the Palmer Attending, Tempted by Phaedria to Land upon the Enchanted Islands of Faerie Queene, watercolor and bodycolor, with some gum arabic, over black chalk underdrawing, on "London Board," 21 1/8 x 29 9/16" (53.7 x 75.2 cm).
Gombrich on Art and Psychology carries an immense weight of theory and after reading it I experienced a need for some kind of clean and weightless experience of, say, natural beauty or a Samuel Palmer painting.
The top lot was Samuel Palmer's Shoreham-period nocturne, A Church with a Boat and Sheep, for which a New York collector was prepared to pay $2.4m--an auction record and more than seven times the estimate (Fig.
Confronted with savage destruction, abstraction was of little use and seemed merely flippant, so Piper recorded what he saw but seen through his own vision, thus you get the wreckage of buildings which have the melancholy and moonlit beauty of a Samuel Palmer or the painters and etchers of the late-18th century.
Lovers of Samuel Palmer will find all their favourite paintings reproduced (often in fine detail as well) in their full richness of colour -and few painters achieved greater richness of colour than Palmer in his Shoreham period.
It included The Comet of 1858 by Samuel Palmer plus jewellery and bank cards.
(Mima, the contemporary art gallery in Middlesbrough, is planning an exhibition of his work next year.) Commenting on his work, Tillyer cites a remark by the 19th Century British landscape artist Samuel Palmer about "that primitive cottage feeling" in reference to a cottage he had stumbled to which had been embraced by the rural surroundings, man-made angles and natural wildness becoming one.
During his early career, Sutherland produced etchings and engravings, heavily influenced by the 19th century Romantic artist, Samuel Palmer, and his pastoral landscapes.